#roz kelly

[classichorrorblog]

New Year's Evil (1980)

[esqueletosgays]

NEW YEAR'S EVIL (1980)

Director: Emmett Alston Cinematography: Edward Thomas

[lisamarie-vee]

[popping-your-culture]

Adam Arkin and leg goddess Roz Kelly, from Full Moon High (1981)

[loveboatinsanity]

[bitter69uk]

Staying in tonight? Want some festive viewing? I recommend grisly low-budget slasher flick New Year’s Evil (1980). Tagline: “Don’t dare make new year’s resolutions … unless you plan to live!” In Los Angeles, glamorous hardboiled celebrity DJ and television’s first lady of rock’n’roll Blaze Sullivan (Roz Kelly) is hosting “Hollywood Hotline”, a live televised coast-to-coast New Year’s Eve countdown. Viewers are encouraged to phone in to vote for their favourite New Wave song of the year - but one of the callers is a misogynistic serial killer calling himself “Evil”, who threatens to murder a “naughty girl” as each time zone hits midnight – culminating with Blaze herself! What distinguishes New Year’s Evil is its focus on the punk subculture. Considering it was filmed in LA in 1980, the mind boggles at the actual bands the filmmakers could have feasibly utilized for the musical sequences: X, The Screamers, the Germs, the Zeros, The Weirdos! The presence of any of these would make New Year’s Evil a valuable time capsule. But no – we see only two appalling ersatz punk bands (nonentities Shadow and Made in Japan), and at tedious length. The film’s received wisdom about how punk rockers behave (they are troublemakers with piercings and Mohawks who mosh and stick their tongues out a lot) is unintentionally hilarious. New Year’s Evil also fails to clarify why hardened young hardcore punk fans are so rabidly enthusiastic about sequin-clad middle-aged Blaze. Is it because she exhorts things like “It’s time to spin out and boil your hair!” and “drop a ‘lude and relax, huh?” while wielding a feather boa? Which brings us to Roz Kelly. In her brief heyday, she was best known for portraying Pinky Tuscadero, Fonzie’s tough cookie girlfriend in seventies sitcom Happy Days. Her screen presence was certainly … um … distinctive. Whether playing Pinky, Anthony Franciosa’s brassy secretary Flaps (yes – Flaps!) in Curse of the Black Widow (1977), cavorting in Paul Lynde’s infamous 1976 Halloween special or indeed here as Blaze, Kelly is consistently abrasive, brittle and borderline hostile. Her bizarre acting choices are perhaps the scariest aspect of New Year’s Evil! Watch it free on YouTube.

[plasticbubbleboy]

[spinning-bird-kick]

I edited my old New Years Evil poster:)

Happy 2023 babies!!

。Instagram: @jiangfeng.art

。Twitter: @jiangfengart

[thegaslightbrigade]

Vivian Blaine, Peter Graves, Roz Kelly, and Alan Young in The Love Boat (S2,E10)

[abs0luteb4stard]

🔪 W A T C H I N G 🥂

[moviesandmania]

FULL MOON HIGH (1981) Reviews of Larry Cohen's comedy horror

‘A howling good time!’ Full Moon High is a 1981 American comedy horror film written, produced and directed by Larry Cohen (The Stuff; Q: The Winged Serpent; It’s Alive franchise). The movie stars Adam Arkin, Roz Kelly, Ed McMahon and Alan Arkin. Plot: Teenager Tony Walker (Adam Arkin) goes on a trip to Transylvania with his father Colonel William P. Walker (Ed McMahon) and gets bitten by a…

[dustedmagazine]

Listening Post: Gastr Del Sol

Photo by James Crump

Gastr Del Sol was the convergence of two individuals who had not spent their youths like anyone else and were on their way to lives quite unlike most lives. Between 1991 and 1998 David Grubbs and Jim O’Rourke made a sequence of records that simultaneously pointed out what a lot of music listeners were missing and where music might go next if it was really interested in being interesting. Grubbs came from Louisville, Kentucky’s hardcore scene; he played in Squirrel Bait while he was in high school, and took Bastro with him to college. Jim O’Rourke grew up tracking down recordings from the far reaches of every fringe and then setting about making his own place within each method he learned. Before he was out of college, he’d already made connections with Henry Kaiser, Derek Bailey and the folks at Ina GRM. Each was a guy who knew what the other did not, and their collaboration pushed both to make music that they would never make again with anyone else.

Gastr Del Sol began when Grubbs decided to let Bastro get quiet, and made one LP before O’Rourke came aboard. Their first album together, Crookt, Crackt, Or Fly, was assembled from miniaturized poetry, elongated post-punk riffs, frozen improvisation and fluid, texturally-focused compositions. Their last, Camofleur, is a droll pop statement completed just weeks prior to the collapse of the duo’s relationship. The acrimony between them took a couple of decades to die down, but around the same time that they buried the hatchet, a live recording of their final concert surfaced. We Have Dozens Of Titles shuffles together that performance plus every compilation, single, or EP track that Gastr Del Sol released outside their core Drag City discography.

Intro by Bill Meyer

Jonathan Shaw: I have admired Gastr del Sol from a sort of distance. I like “At Night and At Night,” from the terrific Hey Drag Citycomp; I know Upgrade & Afterlife quite well and dearly love “Dry Bones in the Valley...”, the Fahey cover collab with Tony Conrad. The first song on this new-ish record sidles in alongside those wooden textures, but is a more anxious affair. I like that it never quite boils over or takes its propulsive energies to catharsis. It’s sort of a complement to the conversation with the French kid blowing up firecrackers at the track’s close: it can’t quite move forward, in spite of all of the things that want it to.

That’s also a handy metaphor for my relationship to the music. When I have listened to Crookt, Cracked..., I get the sense that these are really, really smart folks, doing some smart stuff, but I haven’t quite connected with and moved into the sounds. They can be forbiddingly remote. So, I am glad for this record, and its invitation to revisit the band’s trajectory.

Bill Meyer: Each record is so different that I can easily see someone liking one and not likening others, and if you held a gun to my head, Upgrade & Afterlife is the one I would name as my favorite. Which makes it all the more interesting that this collection spans their existence from O’Rourke’s first presence (the Teenbeat single — and it’s pretty amazing that they ended up on that label) to the very last concert (that trip is probably when the encounter with the Francophone child occurred, since the concert was in Quebec).

By virtue of its length and timespan, We Have Dozens Of Titles shows more sides of Gastr Del Sol than any other record.

Bryon Hayes: I think that’s one of the band’s traits that I find appealing, that their sound and approach shifted from record to record. “At Night and At Night” was my introduction to the band, and it also seems to encapsulate multiple faces of Gastr Del Sol in a single track: a drone intro, followed by a guitar/poetry passage, and then a dollop of minimalism accompanied by backwards cymbal splashes. I bought Hey Drag City for Pavement, Silver Jews, and Smog but was introduced to some new and intriguing sounds across the whole of the comp. That track, and Gastr Del Sol as a whole, always felt like a riddle or a logic puzzle to me, albeit one that continuously changed, so it wasn’t possible to “solve” it. But I actually like that fact: the thrill of the act of investigating is pure enjoyment itself.

I never did get to experience Gastr Del Sol in a live setting, so those tracks on We Have Dozens of Titles are particularly revelatory for me. I like the more stripped-down setting of “The Seasons Reverse,” for example. Maybe even more than the version on Camofleur. I’d also bet that the field recording of the kids came from Victoriaville. The town is far enough into Quebec that it’s likely there was a language barrier between O’Rourke and the local youth at the time. Also, the drawn-out version of “Blues Subtitled No Sense of Wonder” feels much fuller and richer in the live setting than it does on Camofleur. I’m not saying I dislike that album, but I too would pick Upgrade & Afterlife as my favorite...

Bill Meyer: Because I lived in the same town as Gastr Del Sol, I was fortunate to see them a lot. The concerts were pretty different from one another, and didn’t always sound much like the most recently released record. When they played with John McEntire, things could be more rock-ish, and I have one fond memory of them getting pretty wild with the feedback. Afterwards O’Rourke seemed embarrassed, like he’d lost control and done the wrong thing. There was room for spontaneity, but they were not an improv act. In 1997 they did lock into the two guys with two acoustic guitars thing for a while, probably because they had a fair number of out-of-town gigs in their later years; they didn’t necessarily want to lug a lot of gear around.

Another aspect of living in the same town with them was seeing the other things they had going. O’Rourke could often be seen accompanying someone whose work he championed (ex: Rafael Toral), and they both played with Red Krayola (although O’Rourke bailed for a while and Grubbs kept going), Edith Frost, and Arnold Dreyblatt.

Jonathan Shaw: Never saw the band, and the live material on this comp is what’s impressing me most. Given my proclivities toward their work with acoustic guitars, I am most compelled by “Onion Orange,” which works a space between gentle and tense to very satisfying effect. The repetitive sequence of notes in that initial six-or-so minutes is really engaging; it invites anticipation, flirts with letting that become apprehension. I can imagine that would be even more powerful in a real room, with the players really making the noises in front of you. But even here, via the mp3 I am playing on a device, it’s strong stuff.

Bill Meyer: I still need to a-b that with the original on Grubbs’ solo album.

That album, Banana Cabbage, Potato Lettuce, Onion Orange, seems not to be on Bandcamp, and Table of the Elements is long defunct. I’ll have to pull out my CD and play it. On the original edition, Grubbs plays everything, but O’Rourke recorded two of the album’s three tracks. I remember it being very still, a Grubbs take on Morton Feldman. What you hear in this live performance, Jonathan, is probably what makes me think I like this new version better than the original. There’s a management of tension that probably comes from two people playing it together in real time.

The way that We Have Dozens Of Titles is sequenced, with live tracks littered throughout the collection, makes it easy to forget that we’re hearing a complete set here.

Ian Mathers: There’s a relatively well-known tweet (for those of us that are too online, at least) where a guy who’s only ever seen one movie sees a second and immediately compares it to his only experience. As someone who’s never heard Gastr del Sol before (although they’ve lingered somewhere on my impossibly long “get to this someday” list) and only really knows Jim O’Rourke’s work via his Bad Timing album, I had my own “Getting a lot of ‘Boss Baby’ vibes from this...” moment playing the opening live version of “The Seasons Reverse.” The guitar playing there immediately put me in mind of Bad Timing, which isn’t a bad thing! I was slightly relieved when this compilation pretty immediately shows off different aspects of his and Grubbs’ sound, even in the other live tracks.

And while I did enjoy all of We Have Dozens of Titles, enough so that I’m wondering based on the comments here which of their albums I should check out next, the live tracks do feel like a cut above everything else. I’m probably going to try listening to just them, and while I respect the choice to scatter them throughout this release despite being one show (do we have any idea if they preserved the order of the setlist, or jumbled that up as well as splitting them up?) there is a part of me that wishes it was a separate release. Which is kind of silly, I know — absolutely nothing is stopping me from just playing the live stuff whenever I want, and I’m very glad to have the rest of the material here. My first question for those more knowledgeable: is the album version of “Blues Subtitled No Sense of Wonder” as amazing as the live one here, and should I make that my next stop?

Bill Meyer: If you like the live version of “Blues Subtitled No Sense of Wonder,” you definitely need to check out the studio version. For that reason, I’d point you to Camofleur and then suggest that you work your way backwards through the catalog.

Bryon Hayes: The album version has beautiful vocal harmonies with lyrics that are dryly humorous; the title of the box set is derived from them, actually. The music on the box set version feels fuller and louder than that on the album, the electronics bolder and noisier, accompanied by rich organ tones. Also, that interlude of shouted movie dialogue (or whatever it is), is not in the Camofleur version. Both are appealing, but I enjoy the live version slightly more. If Grubbs sang on the live version, it might be the clear winner for me.

Ian Mathers: Interesting, thanks for the tips! If I’m remembering correctly, there’s no vocals on this collection for at least a while, and I was slightly nonplussed when they came in; not bad, certainly, but it felt slightly out of place with the music. (I was working while listening, which might be the culprit there.) I’ll be interested to A/B the two versions and see what I think.

Bill Meyer: I just drove past the Lyon & Healy building at Lake and Ogden, which prompts the question — what do you make of “The Harp Factory On Lake Street”?

Jonathan Shaw: I sort of like it when there are vocals — in part because of the poetic nature of what’s sung (see “Rebecca Sylvester” on Upgrade & Afterlife), in part because it feels grounding in musical contexts that frequently get very abstract.

Bill Meyer: I like the way you frame that, Jonathan. Grubbs’ words do have a way of anchoring part of the music, bringing a sonic fixedness that contrasts with the music around them, but also introducing an uncertainty of their own because of their sometimes-oblique content.

Roz Milner: I’ve just been lurking this thread. I’m not familiar with this group, although I do like what little Jim O’Rourke’s music I’ve heard (Bad Timing, Happy Days). Any recommendations on where to start with them?

Tim Clarke: I’d start with Camoufleur, which is easily their most accessible album. I have a bit of an uneasy relationship with Gastr Del Sol. I got into them soon after I became obsessed with Jim O’Rourke’s Eureka, but it was quite a shift in tone from that album. I do enjoy Camoufleur a lot, and the album versions of “The Seasons Reverse” and “Blues Subtitled No Sense of Wonder” are, in my opinion, far superior to the live versions on We Have Dozens of Titles.

Gastr Del Sol are quintessentially experimental, in that much of their music sounds so open-ended, as though O’Rourke and Grubbs are constantly wondering what x would sound like played at the same time as y, whether it’s an open, suspended acoustic guitar voicing alongside a sour synthesizer drone, or some piano with some field recordings or samples. Upgrade & Afterlife actually freaks me out! The first time I listened to it after buying it from Rough Trade in London, I couldn’t venture past the opening track as a massive gnarly insect flew in through my open window while I was listening to it on a spring evening. It scared me so much I don’t think I’ve revisited the album since. There are moments on We Have Dozens of Titles that are truly magical, so I think I’ll have to get over my fear and revisit Upgrade & Afterlife after all this time.

Christian Carey: The timing of this release is interesting. David Grubbs was just appointed Distinguished University Professor by CUNY, the highest faculty distinction possible. In addition, he was just awarded the Berlin Prize, and will be in residence there next year. Wonder if the awards might have helped to fund the recording project.

Jonathan Shaw: Distinguished Prof at CUNY — pretty swell. Makes sense. Some of Gastr del Sol’s headiest stuff has the feel of the “experimental,” and in ways that engage the connotations of knowledge and concept in that term (which often gets used lightly and lazily, IMHO). That might have something to do with why I like the live tracks so much. There’s an organic quality to them. Still thorny and challenging music, like the ebbs and flows that make “Dictionary of Handwriting” disorienting and strange. But it’s happening. It’s made, not just thought or assembled.

Jennifer Kelly: Once again, not super immersed in this band, though I had a copy of Crookt, Crackt or Fly at one time, which I can’t find and don’t remember very well, though I’m listening to it on YouTube right now, and the combination of Grubbs’ wandering vocals and aggressive, stabbing guitars seems familiar-ish. So, coming to this a bit cold, though I’ve enjoyed Grubbs’ more recent work with Ryley Walker and Jan St. Werner — and there are definitely some common threads. Nonlinearity, an elastic sense of key and rhythm, a haunted room kind of aesthetic.

I found this track-by-track exposition at the Quietus, which I was trying to read as the songs came up and it’s quite good. I especially liked the paragraphs about “The Bells of St. Mary’s,” written for what sounds like a truly bizarre Christmas comp with Merzbow and Melt Banana on it. Gastr del Sol’s lone concession to the holiday form was sleigh bells, though Grubbs says the main reference was to “I Wanna Be Your Dog” not “Jinglebells.”

Anyway, you might enjoy this.

Tim Clarke: In addition to the Quietus piece, this recent podcast interview is also very enlightening in regard to the history of the band. A rare opportunity to hear Jim O’Rourke chat lightheartedly too.

Having spent more time with the album now, I realize that my listening gets derailed by a couple of Grubbs’ and O’Rourke’s tendencies with this music. The first is when Grubbs does a kind of scat singing that follows the spiky contours of the acoustic guitar parts. And the second is when they retreat into near silence.

Bill Meyer: Near-silence is an O’Rourke strategy to make sure that the volume is set high enough when you get to the loud part.

Christian Carey: I’m curious what connections to later projects people hear in the recording. As TJ mentioned, there are some mannerisms that seem to forecast avant moves by both Grubbs and O’Rourke, with greater assuredness in the idiom. The post-rock vibe is unmistakable, and I am finding the songs with connections to Tortoise et. al. to be the most compelling music-making here.

Bill Meyer: Re: similarities with Tortoise, it’s worth keeping in mind that John McEntire of Tortoise was also a member of Bastro and a key non-member contributor to Gastr Del Sol. Re: the term post-rock, I appreciate the irony that Gastr Del Sol was actually O’Rourke’s entree into rock following years of intense work in improvisation, musique concrete, etc. with people like Henry Kaiser, Eddie Prevost, Christoph Heemann and Illusion of Safety. It was his “I’m almost ready to rock" project.

Ian Mathers: Roz, if you still haven’t settled on a way to check out Gastr del Sol, I was in a similar position to you and honestly, I found this compilation a pretty welcoming (and broad-ranging) introduction! I haven’t moved on to checking out any of their albums yet, but I have played We Have Dozens of Titles a number of times, and while I’m still experiencing it more as a gestalt than I am picking out specific elements (so I’m not sure how I’d answer Christian’s question at the moment, for example), I find the time just slipping away when I do. I was reading Steven Thomas Erlewine’s newsletter recently where he was discussing this collection and he described Gastr del Sol as “music that changes the temperature of the room,” and I keep coming back to that as an apt description of what I’m experiencing.

Bryon Hayes: I read somewhere that Grubbs’ The Plain Where the Palace Stood is his solo album most similar to his work in Gastr Del Sol. I’m listening to that record now and it actually reminds me of the little Bastro that I’ve heard along with parts of The Serpentine Similar.

Bill Meyer: Gastr Del Sol’s existence corresponded with Grubbs’ time at University of Chicago, where he was getting his PhD. I believe it was in poetry, and the words he wrote for the band’s songs reflect that study.

Christian Carey: I've been having fun poring over David Grubbs’ trilogy of books and guessing which stories might be about Gastr del Sol. He's excellent at being covert, but I would be surprised if they weren't featured in some of his writing.

[armoricaroyalty]

Previous | Chapter Start | Beginning | Next

author's note: This one was hard to write. I did four or five drafts before I wrote one that worked. Thank you to everyone who listened to me talking about being stuck and gave advice (you know who you are.) Special thanks to @nexility-sims, who always asks the right questions. Another co-author credit on this one has to go to @rebouks, since she made almost all of the poses I used here!

Transcript under the cut.

Nakawe Palace // Armorican State Visit - Day 2

ROSALIND | [offscreen] They’re still out there. ROSALIND | there must be a dozen of them. MARY | [offscreen] Get away from the window! MARY | They’ve all got telephoto lenses, Roz. They can see inside. ROSALIND | Why should I hide from those insects? I haven’t done anything wrong. ROSALIND | ...anyway, my private life is none of their business. MARY | That’s never stopped them before. They’re going to run with this story. ROSALIND | They’re going to forget all about it as soon as the next big story breaks. They always do. MARY | Not this time, Roz. This is too big. ROSALIND | ...what are you saying? MARY | I’ve said it before. I’m a liability— ROSALIND | Don't say that. You are not. MARY | Roz, they know about my husband! They know everything, and they’re going to spread it around and use it to destroy your reputation. I can't let that happen. I won't let them use me against you. ROSALIND | I don’t care. MARY | What? ROSALIND | I. Don't. Care. [They embrace. For a moment, neither speaks.] ROSALIND | Listen to me: I don’t care about them. I love you. ROSALIND | I love you, and I’m not going to let you break up with me over some tabloid rag. Your husband is ancient news, and I don’t care. In fact… ROSALIND | ...I've been trying to find a chance to ask you to marry me. MARY | [softly] Rosalind… ROSALIND | I love you, Mary. I want to spend the rest of my life with you. MARY | … ROSALIND | [softly] Don't break my heart. Say yes. MARY | Roz, there's nothing I want more, but I’m still married. ROSALIND | We’ll announce after we've taken care of that insignificant detail. MARY | And what will we do until then? I didn't plan for this! MARY | [offscreen] They're out there, and they know. They want answers. And if they don’t get them, they’re going to start making them up. ROSALIND | Mary, all we have to do is wait them out. I promise you, they will forgeet all about this as soon as the next big story breaks. MARY | Roz, we’ve only got one story big enough to bury this one. MARY | We're not ready for anyone to kind out about Kelly's kid. She hasn't signed an NDA, and we won't know for sure until we get the paternity test back on Friday. ROSALIND | …no. There has to be a way. ROSALIND | Because I’m not giving you up. I won’t let them win. MARY | [laughs] You are so stubborn. ROSALIND | You wouldn’t have it any other way. MARY | I wouldn't! MARY | ...and my answer is 'yes.' ROSALIND | ...? MARY | I love you. I want to spend forever with you. And babe? The very second we're allowed... MARY | ...I'm going to marry you. ROSALIND | [laughs] You can't propose, I asked you first— MARY | Well, I knelt down first, so... MARY | Rosalind. My love. Will you marry me? ROSALIND | You already know my answer, don't you? MARY | I'd still like to hear you say it. ROSALIND | In that case... ROSALIND | Yes!

[sluttery-withoutshame]

For some reason I was googling Pinky Tuscadero (there was a reason but I’m too embarrassed to tell you) and ffs can Kiss not infiltrate every fucking aspect of my life?

They are the phrase “Look at me!!” personified. Because apparently this was a thing that happened.

Paul dated Roz Kelly, who played Pinky Tuscadero.

[the-forest-library]

October 2023 Reads

Time to Shine - Rachel Reid

Pride and Prejudice and Pittsburgh - Rachael Lippincott

Jane & Edward - Melodie Edwards

10 Things That Never Happened - Alexis Hall

The Wake-Up Call - Beth O'Leary

Something Fabulous - Alexis Hall

Iris Kelly Doesn't Date - Ashley Herring Blake

Divine Rivals - Rebecca Ross

You, Again - Kate Goldbeck

Stars in Your Eyes - Kacen Callender

Icebreaker - A.L. Graziadei

Thin Air - Kellie M. Parker

Lock Every Door - Riley Sager

The Adventures of Amina al-Sirafi - Shannon Chakraborty

Are You Listening? - Tillie Walden

I Must Be Dreaming - Roz Chast

The Best of the Rejection Collection - Matthew Differ

Why Cats are Assholes - Liz Miele

Some Very Interesting Cats Perhaps You Weren't Aware Of - Doogie Horner

In the Form of a Question - Amy Schneider

Pageboy - Elliot Page

Leslie F*cking Jones - Leslie Jones

Soul Boom - Rainn Wilson

You're Gonna Die Alone - Devrie Donalson

The Other Family Doctor - Karen Fine

Misfit - Gary Gulman

Wordslut - Amanda Montell

Unruly - David Mitchell

Poverty by America - Matthew Desmond

Milk Street: Tuesday Nights Mediterranean - Christopher Kimball

Bold = Highly Recommend Italics = Worth It Crossed out = Nope

Thoughts: 

Bit of a lackluster month with few standouts and several disappointments.

Goodreads Goal: 354/400 

2017 Reads | 2018 Reads | 2019 Reads | 2020 Reads | 2021 Reads| 

2022 Reads | 2023 Reads

[disneyparksattractionstournament]

Disney Parks Animatronic Tournament Match ups: Round 1

Should start tomorrow!

Bracket A/Tier 1:

Hondo Ohnaka vs Beast

Davy Jones vs Disco Yeti

Lava Monster vs Kylo Ren

Anna (Hong Kong version) vs Mr. Potato Head

Jack Sparrow vs BB8

Stitch vs Hopper

Lumiere vs Sven

Belle and Prince Adam vs Tiana

Stunt Spiderman vs Clawhauser

Wheezy vs Tiki Room Stitch

Rocket Raccoon vs C3PO

Shaman of Songs vs Elsa (Hong Kong version)

Ursula vs Lieutenant Bek

Dragon under castle vs Olaf

Hatbox Ghost vs Lantern Belle

Albert vs Dwarves in Mine Train

Bracket B/Tier 2:

Madame Leota vs Fantasmic dragon/Murphy

Giant from Sinbad's Storybook Voyage vs Swedish Chef

Finale conductor Sebastian vs Big Al

Roger Rabbit vs Br'er Porcupine

Dreamfinder vs Constance Hatchaway

Redd vs Munchkins

Skippy vs DJ R3X

Singing Geese vs 1900 Patricia

Daisy Duck vs Mary Poppins

Trixie vs The Five Bear Rugs

Jack Skellington vs Carnotaurus

Buzz Lightyear vs John

Aladar vs Zazu

RX-24 vs John Wayne

Max, Buff and Melvin vs Teddi Berra

Iago vs Panchito

José vs Uh-oa

Sun Bonnet Trio vs Br'er Raccoon

Figment vs Little Leota

Horned King vs Roz

Malestrom trolls vs Donald Duck

Abraham Lincoln vs Q’aráq

Statler and Waldorf vs Gene Kelly

Marshmallow vs Wicked Witch of the West

Will Rogers Jr/Lasso cowboy vs ExtraTERRORestrial Alien

Farming bunnies vs Frank

Timekeeper vs VR Grandma

Luggage Scanner Droids vs Railway end Mickey

Scuttle vs Bean Bunny

S.I.R.(Tim Curry robot) vs Liver Lips Mcgrowl

Buzzy vs Phantom

Ellen Ripley vs Sonny Eclipse

Bracket C/Tier 3:

Hitchhiking Ghosts vs Blue Fairy

Mr Bluebird vs Hag with apple

Richard the pineapple vs Sea Serpent

The Muppet Penguin Orchestra vs The Lost Safari

Horizons Robot butler vs Girl with goose

POTC Donkey vs Goat with dynamite

Jessica Rabbit vs Tiki room birds

Evil queen in window vs dancing Ariel

Puffins vs Mickey Mouse Review Alice

Little Red vs Unnamed laundry girl

Computer engineer woman/Foxy vs Indiana Jones snake

Hula Girls vs Disappearing butterfly

Splash Mountain finale chickens vs Sauropod

Tiger with umbrella vs Br'er Fox and Bear end scene

Donald's butt vs Drunk hats stealing pirate

Xenomorph vs Sally

Drew Carey vs Figaro

Rover vs Nemo seagulls

Exercise Patricia vs Tiki room Jose

Rosita vs Small World hippo

Darla vs POTC prison dog

Beating heart bride vs Barnstormer chickens

Boothill Boys/Vultures vs Ballroom dancer ghosts

Pansy, Poppy and Petunia (Splash opossums) vs Pig pirate

"Here kitty kitty" pirate vs Evil queen turns into hag

Skeleton ship pirate vs Small World cowboy

Singing birds of paradise vs Primeval World diorama

Jungle cruise elephants vs Barker Bird

Uncle Orville vs Granny ghost

Carlos' wife vs Energy dinos

Rabbit family with carrot vs jungle cruise hippos

Dirty foot pirate vs FSU gopher